The distribution

You get to enter passing by a long entrance corridor through the wide glass door with handle shaped "L", and above it, a neon sign that says "Lutrario, the king of dancing", that invites also the reluctant guests  to enter. Planimetrically this is a rather long and narrow space.
On the right, disguised by coating mirrors, there are several doors leading to the offices and bathrooms, which Mollino tried to hide.
The space is structured using the syntax of the sinuous curved line on the floor and of the walls' trend, using the geometric niches, perfectly cut into the wall, so alternating wave movements to sudden interruptions.
The coating majolica of Vietri, stylised floral motifs in different colors that completely covers the walls from floor to ceiling, in many places has broken by panels of mirrors which break the wall of the curved line projecting.
In the part where you find the wardrobe the architectonic solution is more classic in fact the mirror balustrade of Devalle house has been used but this time the adapting the curved sinuous line of the wall to enclose the space reserved for the storage and collection of coats.
This space occupied by the balustrade is also reported to the floor through a different marble colors, which assumes shades from pale green to dark green.
Going to the dance floor on the left side of the entrance corridor, the wall has been emptied from the deep niches with geometric profile, probably designed to accommodate statues, plants and various objects.
Before entering the hall the path undergoes a bottleneck to the right of the bar counter which  is coated by the same ceramic tiles.
At the opposite side of a staircase, now closed, that allows you to enter the down floor also used as a ballroom, whose entrance is shielded by a wrought iron frame to simulate a subway station in Liberty style.
From this place there is a perception of a space that continues indefinitely, due to the presence of full-length mirror, with rounded profile, which dips into the upstairs balcony. It has a parapet with a lot of lists of tempered glass of Cristal Art,(5) attached to metal pipes thanks to the bolts covered with golden curved scales. This mezzanine embraces the entire room and at  the same height of the entrance corridor there is a wrought iron colourful arabesque railing, from which is possible to observe who is entering the room and at the same time, be dazzled by light reflected from the mirrors of the balustrade, arranged in prismatic angles.

Chairs and stools shaped as a saddle that entice to sitting astride, are scattered throughout the room and seem a corolla of petals round tables. (6)
Another dominant theme is the scale which assumes different characters based on their position. There are two that keep a plant straight and are key links to access floor balconied.
Even more strange the narrow tortuous stairs with wrought iron handrails and coloured arabesques located respectively near to the bar and to the privée in dark corners as to remind secret passages.
The fifth scale that is the most spectacular is located behind the curtain and seems in the perspective sketch a snake that falls sinuously  from the ceiling leaning the trees reproduced on the photographic enlargements places on the walls .
There is the same wrought iron handrail which structurally resembles Minola house, (7) and the same maiolica tiles of the entrance corridor which are leading about one meter height the wall of the staircase that takes to the attic, originally designed for a school dance. The project of Mollino included a hall with sofas from which was possible to enter the space properly set up as a school dance passing over an wrought iron gate.

5. Fabbrica di specchi, cristalli e vetri fondata a Torino nel 1944 da Giovanni Donna in società con lo zio Giuseppe, Cristal Art si impone negli anni cinquanta in Italia come azienda leadernella produzione di specchi per arredamento.
6. Fulvio Ferrari, “The Unexpected Mollino”, Casa Vogue, Dicembre 2004
7. Manolo De Giorgi, “Carlo Mollino interni in piano-sequenza” (op. cit.)